“A few years ago such a project would had needed a big budget to make a 64 track recording and there were tremendous practical difficulties in recording with no loss of audio quality at the end of a 100m-long multicore. The artists, engineers and record company were all really impressed,” Spadaccino revealed. “The microphone preamps of the CL system are excellent and the quality of the recorded tracks was absolutely pure.
The album was mixed at Bano’s studio in Cellino San Marco, Italy, by Alessandro Vanara. In addition to the stage microphones and DIs, Francesco set up four ambient mics to capture the feel of the sold-out audience. In terms of both audio quality and simplicity it has revolutionised live recording.” “It is incredibly easy to setup – we are always just a few clicks away from a very reliable 64 track recording. “Nuendo Live is an invaluable tool for virtual soundchecks and produces the best possible sound quality, so using it for the live album multitracks was a no-brainer,” he continued.
Unlike most live albums, which are usually recorded on multiple shows during a tour, Spadaccino only had one chance to get it right. The production had a day for setup, another for rehearsal and the third was show day. The Arena di Verona has a massive stage and being able to operate the console with the StageMix app really helped to make it a success. "I had a heavy workload and the CL5 made a potentially very stressful show manageable. We had a 48-piece orchestra, seven-piece band and 16 special guests singing with Al and Romina in a two-hour show, which had the added pressure of being broadcast live," said monitor engineer Francesco Spadaccino (pictured).
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